371:
attracted a large number of the finest musicians from other orchestras, many in the musical world doubted that
Beecham could find enough good players. He was fortunate in the timing of the enterprise: the depressed economy had severely reduced the number of freelance dates available to orchestral players. Moreover, Beecham himself was a strong attraction to many musicians: he later commented, "I always get the players. Among other considerations, they are so good they refuse to play under anybody but me." In a study of the foundation of the LPO, David Patmore writes, "The combination of steady work, occasionally higher than usual rates, variety of performance and Beecham's own magnetic personality would make such an offering irresistible to many orchestral musicians."
1126:
771:
969:
47:
326:
614:
348:. In 1928 they opened discussions about jointly setting up such an ensemble, but after 18 months of negotiations it became clear that the corporation and the conductor had irreconcilable priorities. Beecham demanded more personal control of the orchestra and repertoire than the BBC was willing to concede, and his priorities were the opera house and the concert hall rather than the broadcasting studio. The BBC went ahead without him, and under its director of music,
913:
4278:
858:. This was a bad period financially for the orchestra, and it was forced to abandon fixed contracts for its players with holiday and sick pay and pensions, and revert to payment by engagement. Financial disaster was averted thanks to an anonymous benefactor, generally believed to be Boult. A historian of the orchestra, Edmund Pirouet, writes that having been on an upward curve in the 1940s, by the mid-1950s the orchestra "was at best marking time".
1052:
health and frequent cancellations. As with
Haitink and Solti, Bruckner and Mahler were prominent in the LPO's concerts with Tennstedt. Unlike his two predecessors Tennstedt preferred to record with the LPO rather than major continental or American orchestras; among the many sets they made together was a complete cycle of Mahler's symphonies for EMI. In 1984 the LPO and the Philharmonia began negotiations that went on for years following an
125:
889:. The latter was appointed the LPO's chief conductor in 1962, presiding over what one player described as "an era of supremely good taste". From its outset in 1932, harpists (traditionally female) excepted, the orchestra had maintained Beecham's "men only" regime; in 1963 the rule was dropped, the first woman violinist was recruited, and within two years female players achieved equal conditions of membership with their male colleagues.
1168:. Jurowski became principal guest conductor in 2003, and conducted the orchestra in June 2007 during the concerts marking the re-opening of the refurbished Festival Hall. In September 2007, Jurowski became the LPO's eleventh principal conductor. Like his LPO predecessors Pritchard and Haitink, Jurowski also served as music director of Glyndebourne (2001â2013), where he conducted the LPO there in operas by Britten, Mozart,
878:
1110:
which did severe damage to box-office receipts. In 1993 another official attempt to create a "super-orchestra" at the expense of one or more of the existing London ensembles briefly damaged relations between the LPO and the
Philharmonia, but the idea was quickly abandoned, and in 1995, with the consent of the Arts Council, the two orchestras agreed to share the residency at the Festival Hall.
451:
628:, bringing orchestral concerts to places where they had rarely if ever been given. Many of the players' instruments were lost when the Queen's Hall was destroyed by German bombing in May 1941; an appeal was broadcast by the BBC, the response to which was enormous, with instruments donated by the public enabling the orchestra to continue.
952:, Joan Chissell described the orchestra's playing as "worthy of any festival". There was some discontent within the LPO that Haitink's prolific recordings were almost always with the other orchestra of which he was the chief conductor, the Amsterdam Concertgebouw. Pirouet comments that as Haitink recorded exclusively for the Dutch firm
610:
months, while he strove to secure the future of the orchestra, whose financial guarantees had been withdrawn by its backers when war was declared. The original LPO company was liquidated and
Beecham raised large sums of money for the orchestra, helping its members to form themselves into a self-governing body.
1065:
965:
Philharmonia; the latter, a self-governing body formed under its new name when the
Philharmonia was disbanded in 1964, was going through a bad patch, professionally and financially. The proposed merger would inevitably have led to redundancies, and the player-owners of both orchestras rejected the plan.
1386:
In a discography of the LPO published in 1997, Philip Stuart listed 280 recordings made at
Kingsway Hall and 353 at Abbey Road. By the early 2000s the late 20th-century boom in classical recordings had ended, and with studio work in decline for all orchestras, the LPO set up its own CD label in 2005,
1200:
first guest-conducted the LPO. In April 2020, the LPO announced the appointment of
Canellakis as its new principal guest conductor, the first female conductor ever named to the post, effective from September 2020. In February 2024, the LPO announced the extension of Canellakis' contract as principal
1136:
After the departure of Welser-Möst, the LPO was without a principal conductor for four years. During the interregnum, the orchestra inaugurated its "Roots
Classical Fusions" series, which aimed to combine musical traditions from around the world; this was part of an education and community programme
1109:
Welser-Möst's period as principal conductor coincided with the installation of the LPO as the sole resident orchestra of the
Festival Hall. This proved a mixed blessing: the Southbank Centre management now had a say over concert programming, and insisted on the inclusion of works by obscure composers
573:
Never before in our experience of concert-going in
Manchester have we heard orchestral playing which, throughout a whole programme, combined such nobility of style and brilliancy of execution â not the brilliancy that stops when it has made outward forms sparkle, but a quality that seems to work from
544:
During the next eight years, the LPO appeared nearly a hundred times at the Queen's Hall for the Royal Philharmonic Society, played for Beecham's opera seasons at Covent Garden, and made more than 300 gramophone records. The total number of works, as opposed to discs, recorded by the LPO and Beecham
305:
later commented, "the British public ... was electrified when it heard the disciplined precision of the Berlin Philharmonic ... This apparently was how an orchestra could, and, therefore, ought to sound". After the Berliners, London heard a succession of major foreign orchestras, including
171:
The founders' ambition was to build an orchestra the equal of any European or American rival. Between 1932 and the Second World War the LPO was widely judged to have succeeded in this regard. After the outbreak of war, the orchestra's private backers withdrew and the players reconstituted the LPO as
1570:
Despite the efforts of Wood, Beecham and others, the deputy system remained a traditional part of the London orchestral scene. A player booked for a concert could accept a better-paid engagement and send a substitute in his stead. The treasurer of the Royal Philharmonic Society described the system
1101:
were largely unknown in London. No successor was appointed until 1990 when Welser-Möst was named as the new principal conductor. His tenure was controversial; he received the nickname "Frankly Worse than Most" and many harshly critical reviews. He brought with him a recording contract with EMI, but
964:
In 1973, the LPO was caught up in a recurring phenomenon of London orchestral life: the conviction in official circles that having four independent orchestras is too much for one city, and that two or more of the existing ensembles should merge. On this occasion the targets were the LPO and the New
791:
began, some influential members of the LPO felt that Russell's private political affiliations compromised the orchestra, and pressed for his dismissal. Boult, as the orchestra's chief conductor, initially stood up for Russell, but when matters came to a head Boult ceased to protect him. Deprived of
782:
that was unusually rewarding for the orchestra, giving it a 10 percent commission on most sales. On top of this, Boult always contributed his share of the recording fees to the orchestra's funds. In the same year, the LPO survived a crisis when Russell was dismissed as its managing director. He was
370:
family. Originally Sargent and Beecham envisaged a reshuffled version of the LSO, but the orchestra, a self-governing body, balked at weeding out and replacing underperforming players. In 1932, Beecham lost patience and agreed with Sargent to set up a new orchestra from scratch. With the BBC having
1056:
proposal to name one London orchestra as the principal resident orchestra of the Festival Hall, with concomitant extra funding. The two orchestras were interested in making a counter-proposal for a joint residency, but the matter was not resolved until 1995 when their plan was finally implemented.
609:
As his sixtieth birthday approached in 1939, Beecham was advised by his doctors to take a year's break from conducting, and he planned to go abroad to rest in a warm climate, leaving the orchestra in other hands. The outbreak of war on 3 September 1939 obliged him to postpone his plans for several
1051:
commented, "Tennstedt found the orchestra sensitive and flexible, and his players regarded him with a warmth that is by no means universally extended by musicians to their conductors". His time as chief conductor (1983â87) was celebrated for its musical achievements, but was marked by his failing
927:
as its principal conductor. He remained with the orchestra for twelve years, to date (2018) the longest tenure of the post. His concerts made a strong impression with the public, and within months the LPO was playing to ninety per cent capacity audiences at the Festival Hall, far outstripping the
896:
in Sussex, and it was partly due to his influence that in 1964 the LPO replaced the RPO as Glyndebourne's resident orchestra, providing the players with stable guaranteed work in the slack summer months. The number of LPO concerts in the provinces fell during the 1960s, and ceased to be a major
509:
In its first season, the LPO played at eighteen concerts in the Courtauld-Sargent series; ten Royal Philharmonic Society concerts; fifteen "International Celebrity Tours" and sixteen Sunday afternoon concerts for Holt's agency, as well as Robert Mayer's children's concerts, Royal Choral Society
631:
On Beecham's return to England in 1944, the LPO welcomed him back, and in October they gave a concert together that drew superlatives from the critics. Over the next months Beecham and the orchestra gave further concerts with considerable success, but the LPO players, now their own employers,
1323:
and many other labels. For some years in the 1950s and 1960s the orchestra was contracted to two companies at once, and consequently appeared under the name "the Philharmonic Promenade Orchestra" in some of its recordings. In the 1960s and 1970s the orchestra was particularly associated with
1571:
thus: "A, whom you want, signs to play at your concert. He sends B (whom you don't mind) to the first rehearsal. B, without your knowledge or consent, sends C to the second rehearsal. Not being able to play at the concert, C sends D, whom you would have paid five shillings to stay away."
1057:
From the outset of the LPO's existence as a self-governing co-operative in 1939, its chief executive had always been appointed from within the orchestra's ranks. In 1985 this tradition was broken with the recruitment of John Willan, a qualified accountant as well as an alumnus of the
564:
In addition to London engagements, the orchestra played regularly in the larger provincial cities and towns. Its first tour, in March and April 1933, started in Bristol and ended in Manchester, taking in thirteen other venues in England, Ireland and Scotland. After the last concert,
632:
declined to give him the unfettered control that he had exercised in the 1930s. If he were to become chief conductor again it would be as a paid employee of the orchestra. Beecham, unwilling to be answerable to anybody, left the LPO and in 1946 founded a rival orchestra, the
405:
and other influential and informed contacts he recruited 106 players. They included a few young musicians straight from music college, many established players from provincial orchestras, and 17 of the LSO's leading members. During the early years, the orchestra was led by
1310:
Unlike its London rivals, the RPO and the Philharmonia (both of whom recorded for many years only for EMI and its associates, with the rarest of exceptions), the post-war LPO was not exclusively associated with one company, and as well as Decca it recorded for Philips,
667:
Van Beinum's poor health obliged him to resign in 1950. Sir Adrian Boult accepted an invitation from the LPO's managing director, Thomas Russell, to take up the principal conductorship. With Boult the LPO began a series of commercial recordings, beginning with Elgar's
2719:
1387:
featuring recordings taken mainly from live concerts. With the exception of Steinberg, all the orchestra's principal conductors from Beecham to Jurowski are represented in the label's releases. The orchestra lists among its best-selling recordings Mahler's
647:. Such starry events were the exception; as a rule the orchestra worked with less eminent conductors, giving an unprecedented number of performances. In 1949â50 they gave 248 concerts, compared with 103 by the London Symphony Orchestra and 32 each by the
1161:, in a gala series of concerts celebrating the reign of Krakow as the European Cultural Capital in the Millennium Year. The concert was broadcast internationally including on PBS marking the orchestra's television debut in the United States.
478:
wrote, "Nothing so electrifying has been heard in a London concert room for years. The tone was magnificent, the precision perfect, the reading a miracle of fire and beauty, and the enthusiasm of the audience could not have been greater." In
960:
and many others. In the 1970s international tours continued, with itineraries taking in the US, Western Europe, the Soviet Union, and, in 1972, China, long inaccessible to Western musicians, where the orchestra met an enthusiastic welcome.
792:
that crucial support, Russell was forced out. Kennedy speculates that Boult's change of mind was due to a growing conviction that the orchestra would be "seriously jeopardized financially" if Russell remained in post. A later writer,
1084:
wrote that the LPO still played better for Tennstedt than for anyone else. Tennstedt's resignation was a severe blow to the orchestra, and there was no obvious successor: Morrison observed that the best-known conductors â Barenboim,
1209:
In its early years, the LPO recorded exclusively for Columbia, a division of EMI. The orchestra's first gramophone set was made before its debut concert; with Sargent and the Royal Choral Society the LPO recorded choruses from
1328:, an independent company specialising in neglected British repertoire. In most LPO recordings for Lyrita the conductor was Boult; in the same period he also recorded extensively for EMI, with the LPO his preferred orchestra.
869:, as chief conductor. He was a noted orchestral trainer, and did much to restore playing standards to their former levels. Steinberg resigned the LPO post after two seasons, advised by his doctor to restrict his activities.
545:
was less than a hundred. There were a few guest conductors for the Sunday concerts, but most were conducted by Beecham. In the Courtauld-Sargent series the LPO played not only under Sargent but under many guests including
1075:
In August 1987 Tennstedt, taken ill at a rehearsal, felt so unequal to continuing in his post that he resigned on the spot. He continued to appear with the LPO as a guest, with the title of "conductor laureate"; in 1989
1195:
first guest-conducted the LPO. In July 2019, the LPO announced the appointment of Gardner as its next principal conductor, effective with the 2021-2022 season, with an initial contract of five years. In October 2018,
1141:
was the LPO's principal conductor from 2000 to 2007. Under Masur, known for his performances of the German symphonic repertoire, the orchestra regained its musical form, and the critic Richard S Ginell commented that
655:, in 1947. He was initially able to work with the orchestra for only six months of the year, because of restrictions on work permits for foreign nationals. Guest conductors stood in during his absences. In 1947, the
462:
After twelve rehearsals, the orchestra made its debut at the Queen's Hall on 7 October 1932, conducted by Beecham. but now he assumed a new seriousness, always arriving punctually. After the first item, Berlioz's
195:, one of London's major concert venues. Since 1995 the residency has been jointly held with the Philharmonia. In addition to its work at the Festival Hall and Glyndebourne, the LPO performs regularly at the
1011:
and Solti. When Haitink announced in 1977 that he would step down as principal conductor at the end of the 1978â79 season, Solti, who had been principal guest conductor since 1971, agreed to succeed him.
979:
One of the constant difficulties of London orchestras was the lack of good rehearsal space and facilities. In 1973, acting jointly with the LSO, the LPO acquired and began restoring a disused church in
1283:, was followed by a large number of sessions as the company rebuilt its catalogue after the war. Among those who recorded with the orchestra for Decca were van Beinum, Sargent, de Sabata, FurtwÀngler,
1106:
at the time contributed to the difficulty of the working atmosphere in the orchestra. There were complaints that the orchestra's high standards of playing were not consistently maintained.
803:
The following year, the orchestra celebrated its 21st birthday, giving a series of concerts at the Festival Hall and the Albert Hall in which Boult was joined by guest conductors including
1113:
In 1993, with the government of South Africa now moving towards majority rule, the orchestra accepted an invitation to tour there. Welser-Möst concluded his LPO tenure in 1996, after what
401:
During his earlier negotiations with the BBC, Beecham had proposed the title "London Philharmonic Orchestra", which was now adopted for the new ensemble. With the aid of the impresario
1331:
The LPO plays on many opera recordings, some taped live at Glyndebourne and the Festival Hall and others in the studios of Decca and EMI. They range from early works such as Cavalli's
843:. After the tour Boult retired as principal conductor, but remained closely associated with the orchestra, and was made its President in 1965. Most of his stereophonic recordings for
1580:
This figure refers to discs rather than whole works. The 78 rpm recordings then in use required several discs to accommodate a symphony or concerto of even moderate length.
2932:
1201:
guest conductor for an additional three years. In September 2024, the LPO announced the extension of Gardner's contract as principal conductor for an additional two years.
897:
factor in the orchestra's finances. During the 1960s the orchestra gave fund-raising concerts in which guests from outside the world of classical music appeared, including
238:
and other companies. Since 2005 the LPO has had its own record label, issuing live recordings of concerts. The orchestra has played on numerous film soundtracks, including
3059:
291:
ensembles, with little continuity of personnel, and none approached the excellence of the best continental and American orchestras. This became obvious in 1927 when the
3032:
3276:
4152:
1413:. The orchestra played for ten films made during the Second World War, and then did little soundtrack work until the 1970s, with the major exception of
3803:
3369:
1407:
Although not rivalling the LSO's total of more than 200 film score recordings, the LPO has played for a number of soundtracks, starting in 1936 with
948:, Haitink and the LPO gave a six-concert cycle of the Beethoven symphonies and piano concertos, for which the Festival Hall was full to capacity. In
506:, praised the orchestra's "youthful dash and virtuosity ... at last we have an independent orchestra which rivals the BBC Symphony Orchestra".
442:. Holt became the LPO's business manager, and the management board included the orchestra's principal benefactors: Courtauld, Mayer and d'Erlanger.
1024:. At the anniversary concert Solti conducted the programme with which Beecham had inaugurated the LPO. Pirouet comments that with the exception of
796:, suggests that Boult sacrificed Russell because he believed doing so would enhance the LPO's chance of being appointed resident orchestra at the
4322:
1543:
2875:
956:
it was to be expected that the Amsterdam orchestra would be preferred, and in any case the LPO was recording extensively with Boult, Solti,
578:
Beecham took the orchestra on a controversial tour of Germany in 1936. Throughout the tour, the orchestra ignored the custom of playing the
496:, "nothing more sumptuous and daring in orchestral playing could be heard in more than three other cities between New York and Vienna"; and
180:. Founded respectively in 1945 and 1946, these orchestras achieved a quality of playing not matched by the older groups, including the LPO.
1369:
1230:
recording was in October, under Sir Henry Wood. Beecham's first discs with the orchestra were made in January 1933, with his ballet suite
1146:, who took over in 2007 "has inherited an LPO in splendid technical shape, probably having been drilled to a fare-thee-well under Masur".
4317:
3923:
3084:
1125:
624:
During the war, the LPO played in the capital and on continual tours of Britain, under Sargent and other conductors, including 50 under
3664:
4066:
1093:â with whom the orchestra was then associated were committed to other projects until the 1990s, and those possible contenders such as
1598:
Witts concludes that it was not Russell but Boult â regarded by some as past his peak â who cost the LPO the Festival Hall residency.
2923:
4129:
2854:
1188:. Jurowski concluded his LPO tenure at the close of the 2020-2021 season, and now has the title of conductor emeritus of the LPO.
4302:
2374:
3796:
1242:
sets with the orchestra. Other conductors who worked in the EMI studios with the orchestra in its early years included Elgar,
4061:
3234:
2901:
2885:
465:
4327:
3668:
1457:
697:
wrote, "I have heard no other conductor approach performance. ... His newly adopted orchestra responds admirably".
246:
230:. The orchestra has been active in recording studios since its earliest days, and has played on hundreds of sets made by
17:
3985:
3354:
3272:
1607:
A contemporaneous book listed the many famous soloists who had worked with the LPO in its fifty years. Among them were
383:
3006:
2823:
601:. There was disquiet among some of the players that their presence in Germany gave the Nazi regime a propaganda coup.
183:
By the 1960s, the LPO had regained its earlier standards, and in 1964 it secured a valuable engagement to play in the
3789:
3534:
2748:
2738:
1975:
In earlier years Beecham had been notoriously late for rehearsals, usually arriving an hour after the appointed time,
1363:
1304:
1273:
In 1946, the orchestra began recording for Decca, EMI's rival. The LPO's first recording for the label, Stravinsky's
1357:
3036:
1451:
1421:
784:
730:
375:
367:
341:
4332:
3916:
1415:
1164:
Jurowski had first conducted the LPO at the Royal Festival Hall in December 2001, as an emergency substitute for
1077:
885:
In 1962, the LPO undertook its first tour of India, Australia, and the Far East. The conductors were Sargent and
676:
240:
4307:
3728:
3697:
3633:
3610:
3591:
3572:
3553:
3515:
3492:
3469:
3416:
2955:
1409:
941:
701:
3753:
1239:
366:
with a proposal to set up a permanent, salaried orchestra with a subsidy guaranteed by Sargent's patrons, the
4051:
1684:
1427:
1153:, joining the Berlin Philharmonic under Bernard Haitink, the New York Philharmonic under Kurt Masur, and the
1053:
866:
379:
307:
196:
172:
a self-governing cooperative. In the post-war years, the orchestra faced challenges from two new rivals, the
4122:
3969:
3366:
633:
587:
387:
177:
1518:(1995). In May 2011 the orchestra recorded the 205 national anthems to be used at medal ceremonies at the
4222:
893:
502:
337:
184:
936:, whose symphonies featured frequently in the LPO's concerts during the Haitink period, as did those of
4312:
3909:
3889:
3847:
3390:
1192:
1094:
886:
705:
688:
394:, the Courtauld-Sargent Concerts, Mayer's concerts for children, and the international opera season at
272:
98:
1620:
4005:
3959:
3781:
1527:
1284:
1181:
724:
720:
656:
639:
Among the conductors making guest appearances in the early post-war period were Walter, FurtwÀngler,
264:
161:
3771:
4046:
4036:
4010:
3263:, AHRC Research Centre for the History and Analysis of Recorded Music. Retrieved 5 September 2014 (
1462:
1396:
1047:
Solti stepped down at the end of the jubilee season, and was succeeded by Klaus Tennstedt, of whom
832:
709:
3186:, AHRC Research Centre for the History and Analysis of Recorded Music. Retrieved 5 September 2014.
1471:(2012â14). In 2013, the LPO recorded several new arrangements of rock songs by Japanese rock star
1185:
704:
as "gruelling", with twelve concerts in as many days. The symphonies they played were Beethoven's
4281:
4115:
4000:
1523:
1388:
1180:, and others. During Jurowski's LPO tenure, principal guest conductors of the LPO have included
1030:
985:
812:
716:
691:. The work of the new team was greeted with approval by reviewers. Of the Elgar, the reviewer in
538:
531:
492:
988:, a convenient and acoustically excellent rehearsal space and recording studio, opened in 1975.
336:
Among those determined that London should have a permanent orchestra of similar excellence were
4096:
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3949:
1312:
1235:
1154:
1117:
called "a fraught few years in which the high hopes placed in him were somehow not fulfilled."
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756:
648:
407:
353:
173:
165:
296:
4252:
4015:
3944:
3762:
3712:
2585:
1379:
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The Royal Festival Hall in the 1950s: the LPO was among the orchestras striving for residency
693:
527:
315:
152:. One of five permanent symphony orchestras in London, the LPO was founded by the conductors
3297:
3107:"Edward Gardner extends his Principal Conductor contract with London Philharmonic Orchestra"
4160:
1519:
1316:
1218:
1158:
851:
770:
700:
In January 1951, Boult and the LPO made a tour of Germany, described by Boult's biographer
391:
3871:
1660:
1374:
1098:
1068:
8:
4237:
4209:
4041:
2724:
1445:
1439:
1392:
1292:
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wrote, "I doubt if the LPO has ever played so beautifully, even in the days of Beecham".
996:
937:
797:
411:
292:
188:
129:
88:
3321:
3106:
968:
4257:
4056:
4020:
3995:
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1632:
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1238:. From then until his last LPO recording in December 1945 Beecham recorded ninety-nine
1227:
945:
828:
745:
644:
374:
Beecham and Sargent had financial backing from leading figures in commerce, including
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4179:
4091:
3883:
3841:
3829:
3724:
3693:
3676:
3652:
3629:
3606:
3587:
3568:
3549:
3530:
3511:
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3448:
3431:
3412:
3258:
3181:
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2371:
1822:
1742:
1714:
1692:
1648:
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1339:
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1197:
1143:
1129:
1041:
862:
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469:, the audience went wild, some of them standing on their seats to clap and shout. In
395:
311:
268:
227:
46:
3309:
1345:
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and RPO. After a seven-year interregnum, the LPO engaged a new principal conductor,
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4227:
3990:
3901:
3334:
2859:
1688:
1624:
1361:(2011), and premiĂšre recordings of 20th-century works including Vaughan Williams's
1212:
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1025:
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944:, which Pirouet describes as the calling card of the orchestra and conductor. With
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other London orchestras. Among the composers with whom Haitink was associated were
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319:
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3648:
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1798:"EMI, Sir Thomas Beecham, and the formation of the London Philharmonic Orchestra"
1644:
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1320:
1280:
1247:
1169:
1165:
1034:, the music was as ideally suited to Solti's musical persona as to Beecham's. In
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evenings and other engagements. Soloists in the first season included the singer
363:
284:
267:(LSO) was the city's best-known concert and recording orchestra. Others were the
223:
215:
157:
3481:
1589:
Kennedy states that there were 11 concerts, but Boult lists 12 dates and venues.
850:
Through the middle and late 1950s, the LPO worked with new conductors including
4138:
3823:
3767:
3462:
While Spring and Summer Sang â Thomas Beecham and the Music of Frederick Delius
1680:
1676:
1672:
1668:
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1652:
1628:
1484:
The orchestra has made many non-classical recordings, including such titles as
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The New Philharmonia had bought back the rights to the original title in 1977.
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3680:
3656:
3435:
2219:
1818:"Beecham and the BBC Symphony Orchestra: A Collaboration that Never Happened"
1797:
1612:
1551:
1490:
1296:
1259:
1223:
1086:
933:
840:
808:
793:
779:
681:
515:
475:
431:
325:
235:
204:
187:
during the summer months. In 1993 it was appointed resident orchestra of the
3452:
3035:(Press release). London Philharmonic Orchestra. 6 April 2020. Archived from
3009:(Press release). London Philharmonic Orchestra. 25 July 2019. Archived from
3835:
3085:"Karina Canellakis renews collaboration with London Philharmonic Orchestra"
3010:
2839:
Ginell, Richard S. "Orchestral Upheavals: Gergiev and Jurowski in London",
2820:
2224:
1656:
1547:
1333:
1300:
1090:
1036:
1000:
906:
844:
824:
804:
751:
598:
583:
550:
546:
535:
483:
450:
435:
349:
231:
211:
192:
4232:
4189:
3859:
3758:
3716:
3603:
Heard Melodies are Sweet â A History of the London Philharmonic Orchestra
2023:, 8 October 1932, p. 10; Cardus, Neville. "London's new orchestra",
1616:
972:
855:
816:
554:
402:
219:
210:
Since Beecham, the orchestra has had ten principal conductors, including
1064:
912:
3877:
1467:
1303:
recording was made for Decca in 1956, with Boult in Vaughan Williams's
1138:
1102:
management turnover, financial stresses, and political disputes at the
898:
511:
360:
280:
200:
3811:
2411:
2391:
1843:
1817:
1737:
486:
said that the LPO was "as fine an instrument as could be wished for";
4242:
4214:
4184:
2027:, 8 October 1932, p. 18; and Turner, W J. "The World of Music",
1275:
981:
574:
within and to suffuse everything with a rich and glowing tone-colour.
301:
145:
1526:
Games in London the following year. The LPO performed a version of "
124:
2906:
2277:
881:
Glyndebourne, where the LPO took over as resident orchestra in 1964
827:, the first British orchestra to do so; the conductors were Boult,
788:
299:, gave two concerts at the Queen's Hall. The chief music critic of
909:. Its regular complement at the end of the decade was 88 players.
4107:
3109:(Press release). London Philharmonic Orchestra. 17 September 2024
1608:
1531:
1402:
877:
4247:
1640:
1351:
1325:
149:
2381:. Music in Society Seminar, Institute of British History, 2002
2117:, 31 July 1934, p. 12; and "Courtauld-Sargent Concerts",
3060:"LPO appoints Karina Canellakis as principal guest conductor"
2109:, 17 January 1933, p. 10; "Courtauld-Sargent Concerts",
755:. Conductors of the 1951â52 season other than Boult included
582:
anthem before concerts, but Beecham yielded to pressure from
3324:, London Philharmonic Orchestra. Retrieved 5 September 2014.
3300:, London Philharmonic Orchestra. Retrieved 5 September 2014.
2430:
Simeone and Mundy, pp. 81â96; and Pirouet, p. 116.
1149:
In 2000, the LPO performed Beethoven's Ninth Symphony under
3312:, London Philharmonic Orchestra. Retrieved 5 September 2014
2372:
Boult, Russell & The London Philharmonic Orchestra 1952
2113:, 2 October 1933, p. 8; "Courtauld-Sargent Concerts",
1433:
579:
3746:
3663:
3355:"London 2012 Hands Baton to London Philharmonic Orchestra"
2982:"NĂ©zet-SĂ©guin Named London Phil Principal Guest Conductor"
620:, destroyed, with many LPO instruments, by bombing in 1941
287:
Orchestra. All except the last of these were essentially
276:
109:
2648:
Greenfield, Edward. "A German vision for London music",
1254:. Soloists in concerto recordings included the pianists
3565:
Orchestra âThe LSO: A Century of Triumph and Turbulence
414:, and included leading players such as James Bradshaw,
2830:, London Philharmonic Orchestra. Retrieved 6 September
1337:(recorded 1968) and Glydebourne's staging of Handel's
778:
In 1952, the LPO negotiated a five-year contract with
3510:. London, England: British Broadcasting Corporation.
2280:
London Philharmonic Choir. Retrieved 4 September 2014
2228:
8 October 1944, p. 2; and "Sir T. Beecham's Return",
3931:
2619:
Greenfield, Edward. "LPO/Solti â 50th anniversary",
2105:"Courtauld-Sargent Concerts â Herr Walter's Visit",
359:
In 1931, Beecham was approached by the rising young
3813:London Philharmonic Orchestra Principal Conductors
3621:
3586:. London, England: Arts Council of Great Britain.
3503:
3480:
3386:Footage of use by WPVI bearing 1996 copyright date
3033:"New Principal Guest Conductor: Karina Canellakis"
2924:"Last-minute stand-in makes an electrifying debut"
2922:
823:and Vaughan Williams. In 1956 the LPO toured the
526:played a programme of violin concertos; those by
390:and play for the Royal Philharmonic Society, the
386:, and secured profitable contracts to record for
4294:
2902:"Thousand Years of Music and Spirit TV Listings"
2807:Chancellor, Alexander. "Orchestral manoeuvres",
2705:Morrison, Richard. "Tennstedt hard to replace",
1461:trilogy (2001â03) and most of the music for the
332:, founding father and first conductor of the LPO
3584:Report on Orchestral Resources in Great Britain
3087:(Press release). Askonas Holt. 20 February 2024
1537:
457:(modern reconstruction of unavailable original)
3747:London Philharmonic Orchestra official website
3645:Thomas Beecham â An Independent Biography
2979:
2297:
2295:
1403:Film scores and other non-classical recordings
4123:
3917:
3797:
3057:
2789:Pirouet, pp. 217â220, and 223.
2412:"The London Philharmonic Orchestra in Russia"
2334:Boult, p. 202; and Kennedy, p. 232.
2325:Kennedy, p. 232; and Boult, p. 202.
1885:Russell, p. 16; and Jenkins, p. 99.
1419:(1962). Later scores have included those for
1061:and a successful recording producer for EMI.
3687:
3409:Tunes of Glory â The Life of Malcolm Sargent
3275:, WorldCat. Retrieved 8 September 2014; and
3241:, Glyndebourne. Retrieved 8 September 2014 (
2475:"Dr Steinberg leaving London Philharmonic",
2075:Sackville-West and Shawe-Taylor, p. 81.
207:, and tours nationally and internationally.
2920:
2292:
2060:
1299:and the young Solti. The orchestra's first
316:Philharmonic-Symphony Orchestra of New York
4130:
4116:
3924:
3910:
3804:
3790:
2953:
2749:"Battered but Unbowed, a Maestro Rebounds"
2692:Morrison, Richard. "Mahler's quiet hero",
2197:Myers, Rollo. 'Music in Battle-dress', in
2161:Russell, pp. 39â40, and 42.
45:
3447:. Harmondsworth, England: Penguin Books.
3367:SouthernMedia's News Music Search Archive
3176:
3174:
3172:
2747:, 15 March 1992; and Oestreich, James R.
1966:Reid (1961), pp. 84 and 92
1792:
1790:
604:
3562:
3527:Thomas Beecham â An Obsession with Music
2720:"Why all those insults made me stronger"
2674:Pirouet, pp. 183 and 223.
2497:Pirouet, pp. 132 and 134.
2444:
2442:
2440:
2438:
2436:
2164:
1124:
1063:
967:
911:
876:
769:
612:
522:. In November 1932 the sixteen-year-old
449:
324:
132:, London, the main base of the orchestra
123:
4067:Orchestre RĂ©volutionnaire et Romantique
3600:
3581:
3478:
3459:
3279:, WorldCat. Retrieved 8 September 2014.
2852:
2776:
2774:
2631:
2629:
2572:
2570:
2244:
2173:
2083:
2081:
1391:, conducted by Tennstedt, and works by
991:Guest conductors in the 1970s included
659:was founded as the chorus for the LPO.
14:
4323:Arts organizations established in 1932
4295:
3706:
3690:Sir Adrian Boult â Companion of Honour
3501:
3406:
3169:
3162:
3160:
3148:
2880:. USA: Wiley. pp. About the DVD.
2873:
1787:
1020:In 1982, the orchestra celebrated its
27:Permanent symphony orchestra in London
4111:
4062:Orchestra of the Age of Enlightenment
3905:
3785:
3688:Simeone, Nigel; Mundy, Simon (1980).
3543:
3524:
3506:The BBC Symphony Orchestra, 1930â1980
3425:
2739:"A Young Conductor Starts at the Top"
2433:
2321:
2319:
1913:
1911:
1909:
1850:, December 1930, pp. 1124â1127.
1343:(1996) to central repertoire such as
892:Pritchard was also music director of
356:in October 1930, to immense acclaim.
3642:
3619:
3567:. London, England: Faber and Faber.
3487:. London, England: Hamish Hamilton.
3442:
3007:"Next Principal Conductor Announced"
2935:from the original on 12 January 2022
2853:Goldman, Mary Kunz (29 March 2002).
2771:
2626:
2588:. "The making of a rehearsal hall",
2567:
2078:
1500:Folk Music of the Region of Asturias
3709:The London Philharmonic discography
3335:"The Drop: Yoshiki â GRAMMY Museum"
3157:
2980:Kevin Shihoten (20 November 2007).
2764:Milnes, Rodney. "And lost at sea",
2661:"Orchestra resumes its old title",
1987:
534:were conducted by Beecham, and the
279:'s Wireless Symphony Orchestra and
160:in 1932 as a rival to the existing
24:
4318:Musical groups established in 1932
4137:
4092:Orchestra of the Royal Opera House
3986:Academy of St Martin in the Fields
3213:Simeone and Mundy, pp. 80â96.
2316:
2139:"Sir Thomas Beecham's Orchestra",
1906:
1826:, October 1980, pp. 625â628.
1550:from Japan Tobacco International (
454:Programme of the first LPO concert
25:
4344:
3738:
3582:Peacock, Alan (chairman) (1970).
2418:, February 1957, pp. 67â69.
2040:"London Philharmonic Orchestra",
1917:"London Philharmonic Orchestra",
1512:The Symphonic Music of Pink Floyd
4277:
4276:
4097:English National Opera Orchestra
3932:Major orchestras based in London
3692:. London, England: Midas Books.
3546:Philharmonic â Jubilee 1932â1982
3544:Moore, Jerrold Northrop (1982).
3378:
3360:
3348:
3327:
3315:
3303:
3291:
3282:
3225:
3216:
3207:
3198:
3189:
3139:
3130:
3121:
3099:
3077:
3051:
3025:
2999:
2973:
2947:
2921:Matthew Rye (17 December 2001).
2914:
2894:
2867:
1546:by health experts for accepting
1015:
872:
342:British Broadcasting Corporation
271:Orchestra, the orchestra of the
3548:. London, England: Hutchinson.
3411:. London, England: Hutchinson.
2846:
2833:
2814:
2801:
2792:
2783:
2758:
2731:
2712:
2699:
2696:, 17 February 1989, p. 18.
2686:
2677:
2668:
2665:, 2 September 1977, p. 12.
2655:
2642:
2613:
2604:
2595:
2579:
2558:
2549:
2542:Chissell, Joan. "LPO/Haitink",
2536:
2527:
2518:
2509:
2500:
2491:
2482:
2469:
2460:
2451:
2424:
2404:
2384:
2364:
2355:
2346:
2337:
2328:
2304:
2283:
2271:
2262:
2253:
2235:
2213:
2204:
2191:
2182:
2155:
2146:
2133:
2124:
2099:
2090:
2069:
2057:, 22 November 1932, p. 10.
2047:
2034:
2031:, 22 October 1932, p. 638.
2013:
1996:
1978:
1969:
1960:
1951:
1942:
1933:
1924:
1897:
1888:
1879:
1870:
1842:, 23 October 1930, p. 12;
1804:, 32(1), 2001, pp. 11â27.
1707:
1698:
1601:
1592:
1583:
1574:
1132:, principal conductor from 2007
1120:
729:. The other works were Elgar's
677:Lieder eines fahrenden Gesellen
541:was conducted by the composer.
4303:1932 establishments in England
3058:Imogen Tilden (6 April 2020).
2652:, 13 January 1998, p. 16.
2639:, 13 January 1998, p. 21.
2121:, 19 October 1937, p. 14.
2019:"Royal Philharmonic Society",
1921:, 9 September 1932, p. 8.
1861:
1858:, 26 October 1930, p. 14.
1832:
1810:
1775:
1766:
1753:
1746:, 1 January 1928, p. 70.
1731:
1564:
1516:The Symphonic Music of The Who
1071:, principal conductor, 1990â96
975:, principal conductor, 1979â83
919:, principal conductor, 1967â79
586:'s government not to play the
445:
13:
1:
4052:London Contemporary Orchestra
3955:London Philharmonic Orchestra
3759:London Philharmonic Orchestra
3624:Malcolm Sargent â A Biography
3529:. Woodbridge: Boydell Press.
2709:, 26 August 1987, p. 14.
2623:, 8 October 1982, p. 10.
2398:, October 1953, p. 472.
1724:
1685:Arturo Benedetti Michelangeli
1226:in September 1932. The first
1204:
867:Pittsburgh Symphony Orchestra
865:, also music director of the
258:
138:London Philharmonic Orchestra
35:London Philharmonic Orchestra
3970:Royal Philharmonic Orchestra
3675:. London, England: Collins.
2843:, July 2008, pp. 23â24.
2811:, 20 July 1996, p. A24.
2232:, 9 October 1944, p. 8/
1717:as the most extreme example.
1538:Tobacco industry sponsorship
1534:for a brief period in 1996.
634:Royal Philharmonic Orchestra
7:
4328:British symphony orchestras
3628:. London: Hamish Hamilton.
2954:Tim Ashley (15 June 2007).
2592:, 17 June 1975, p. 11.
2546:, 18 March 1974, p. 9.
2029:The Illustrated London News
2010:in Moore (unnumbered page).
1763:in Reid (1961), p. 50.
1137:launched by the orchestra.
923:In 1967, the LPO appointed
894:Glyndebourne Festival Opera
861:In 1958, the LPO appointed
503:The Illustrated London News
10:
4349:
3563:Morrison, Richard (2004).
3430:. London, England: Rider.
3400:
3260:Decca Classical, 1929â2009
3183:Decca Classical, 1929â2009
2768:, 22 May 1996, p. 33.
2361:Kennedy, pp. 215â222.
2143:, 3 April 1933, p. 8.
1957:Russell, pp. 135â141.
340:, director-general of the
273:Royal Philharmonic Society
253:
4272:
4172:
4145:
4075:
4029:
4006:English Chamber Orchestra
3978:
3960:London Symphony Orchestra
3937:
3819:
3754:London Philharmonic Choir
3502:Kenyon, Nicholas (1981).
3479:Kennedy, Michael (1987).
3443:Hill, Ralph, ed. (1951).
3277:"Lady Macbeth of Mtsensk"
3265:L'Ormindo, CosĂŹ fan tutte
3154:Stuart, pp. 443â450.
2250:Reid (1961), p. 231.
2241:Reid (1961), p. 230.
2044:, 22 September 1932, p. 8
1984:Reid (1961), p. 205.
1876:Reid (1968), p. 202.
1528:Move Closer to Your World
1452:In the Name of the Father
1234:, arranged from music by
984:, converting it into the
657:London Philharmonic Choir
567:The Manchester Guardian's
384:Baron Frédéric d'Erlanger
344:(BBC), and the conductor
265:London Symphony Orchestra
191:on the south bank of the
104:
94:
84:
76:
61:
53:
44:
39:
34:
4047:London Classical Players
4037:Academy of Ancient Music
4011:London Chamber Orchestra
3601:Pirouet, Edmund (1998).
3460:Jenkins, Lyndon (2005).
3407:Aldous, Richard (2001).
3273:"The Pilgrim's Progress"
2874:Levine, Gilbert (2010).
2087:Stuart, p. 443â450.
1750:; and Elkin, p. 93.
1557:
847:were made with the LPO.
835:, and the soloists were
783:an avowed member of the
731:Introduction and Allegro
662:
4001:City of London Sinfonia
3707:Stuart, Philip (1997).
3428:Queen's Hall, 1893â1941
3237:20 October 2014 at the
3136:Stuart, pp. 19â20.
2826:7 February 2015 at the
2448:Moore (unnumbered page)
2420:(subscription required)
2400:(subscription required)
2313:, May 1951, p. 17.
2141:The Manchester Guardian
2025:The Manchester Guardian
1852:(subscription required)
1828:(subscription required)
1806:(subscription required)
1748:(subscription required)
1621:Victoria de los Ăngeles
1370:Lady Macbeth of Mtsensk
1367:(1972), Shostakovich's
813:Hans Schmidt-Isserstedt
493:The Manchester Guardian
466:Roman Carnival Overture
308:Concertgebouw Orchestra
166:BBC Symphony Orchestras
4333:Albany Records artists
3965:Philharmonia Orchestra
3950:BBC Symphony Orchestra
3665:Sackville-West, Edward
3643:Reid, Charles (1961).
3620:Reid, Charles (1968).
3464:. Aldershot: Ashgate.
3426:Elkin, Robert (1944).
1939:Kenyon, pp. 20â22
1759:Levien, John Mewburn,
1428:Jesus Christ Superstar
1364:The Pilgrim's Progress
1155:Concentus Musicus Wien
1133:
1072:
1059:Royal Academy of Music
976:
920:
882:
775:
757:Ralph Vaughan Williams
649:Philharmonia Orchestra
621:
605:War and post-war years
576:
459:
354:BBC Symphony Orchestra
333:
133:
4308:Decca Records artists
4253:Universal Music Group
4016:London Mozart Players
3945:BBC Concert Orchestra
3669:Shawe-Taylor, Desmond
3357:, IPC, 15 April 2011.
3298:"About the LPO Label"
3255:Love and Other Demons
2841:American Record Guide
2798:Pirouet, p. 213.
2780:Pirouet, p. 208.
2683:Pirouet, p. 187.
2610:Pirouet, p. 174.
2601:Pirouet, p. 147.
2576:Pirouet, p. 155.
2564:Pirouet, p. 150.
2555:Pirouet, p. 153.
2533:Pirouet, p. 149.
2524:Pirouet, p. 138.
2506:Pirouet, p. 139.
2488:Pirouet, p. 132.
2466:Pirouet, p. 116.
2457:Pirouet, p. 119.
2377:25 April 2012 at the
2352:Kennedy, p. 234.
2343:Pirouet, p. 102.
2301:Kennedy, p. 231.
2289:Kennedy, p. 230.
1948:Morrison, p. 79.
1784:in Elkin, p. 49.
1380:Love and Other Demons
1186:Andrés Orozco-Estrada
1128:
1067:
971:
915:
880:
773:
616:
571:
453:
328:
185:Glyndebourne Festival
127:
4161:Scott Ambrose Reilly
3778:, 15 September 2000.
3605:. Hove: Book Guild.
3525:Lucas, John (2008).
3393:Retrieved 2011-08-31
3288:Stuart, p. 412.
3222:Stuart, p. 140.
3195:Stuart, p. 114.
2392:"Promenade Concerts"
2268:Hill, pp. 49â50
2259:Pirouet, p. 77.
2152:Russell, p. 39.
2130:Russell, p. 23.
2096:Russell, p. 22.
1993:Russell, p. 18.
1930:Russell, p. 19.
1903:Jenkins, p. 99.
1894:Russell, p. 17.
1713:Pirouet singles out
1508:Japanese Light Music
1504:Academy Award Themes
1475:on his studio album
1422:Antony and Cleopatra
1355:(1975 and 2002) and
1232:The Origin of Design
1182:Yannick NĂ©zet-SĂ©guin
1159:Nikolaus Harnoncourt
852:Constantin Silvestri
392:Royal Choral Society
4238:Six Degrees Records
4210:Deutsche Grammophon
4042:The English Concert
3647:. London, England:
3257:); Stuart, Philip.
3127:Stuart, p. 19.
2855:"Classical Chatter"
2753:The New York Times
2725:The Daily Telegraph
2635:"Klaus Tennstedt",
2515:Peacock, p. 8.
2188:Lucas, p. 240.
2179:Reid (1961), p. 218
1867:Aldous, p. 68.
1679:, Clifford Curzon,
1675:, and the pianists
1293:Hans Knappertsbusch
1262:and the violinists
1172:, Richard Strauss,
997:Carlo Maria Giulini
940:, particularly the
798:Royal Festival Hall
749:, and Stravinsky's
310:of Amsterdam under
297:Wilhelm FurtwÀngler
293:Berlin Philharmonic
250:trilogy (2001â03).
189:Royal Festival Hall
130:Royal Festival Hall
95:Principal conductor
89:Royal Festival Hall
18:London Philharmonic
4258:Warner Music Group
4057:London Sinfonietta
4021:Southbank Sinfonia
3996:Camerata of London
3772:"Strings attached"
3372:2011-09-27 at the
3204:Stuart, p. 4.
3166:Stuart, p. 2.
3145:Stuart, p. 72
2877:The Pope's Maestro
2755:, 13 November 1994
2744:The New York Times
2390:Mitchell, Donald.
2210:Pirouet, pp. 43â44
2006:, 9 October 1932,
1816:Kenyon, Nicholas.
1772:Elkin, p. 93.
1633:Elisabeth Schumann
1416:Lawrence of Arabia
1410:Whom the Gods Love
1252:Serge Koussevitzky
1134:
1073:
977:
946:Vladimir Ashkenazy
921:
883:
829:Anatole Fistoulari
776:
687:, and Beethoven's
645:Sergiu Celibidache
622:
460:
346:Sir Thomas Beecham
334:
330:Sir Thomas Beecham
263:In the 1920s, the
241:Lawrence of Arabia
178:Royal Philharmonic
154:Sir Thomas Beecham
134:
4313:London orchestras
4290:
4289:
4195:Blue Note Records
4180:Alligator Records
4165:
4157:
4105:
4104:
3899:
3898:
3884:Vladimir Jurowski
3872:Franz Welser-Möst
3842:William Steinberg
3830:Eduard van Beinum
3322:"Film highlights"
3251:Die Meistersinger
2887:978-0-470-49065-5
2737:Kenyon, Nicholas
2416:The Musical Times
2410:Pepper, Maurice.
2396:The Musical Times
2278:"About the Choir"
1848:The Musical Times
1844:"London Concerts"
1823:The Musical Times
1743:The Musical Times
1715:Nikolai Roslavets
1693:Arthur Rubinstein
1663:; the violinists
1661:Jacqueline du Pré
1649:Luciano Pavarotti
1542:The LPO has been
1486:Hawaiian Paradise
1478:Yoshiki Classical
1458:Lord of the Rings
1431:(1973), Disney's
1358:Die Meistersinger
1244:Felix Weingartner
1198:Karina Canellakis
1144:Vladimir Jurowski
1130:Vladimir Jurowski
1099:Franz Welser-Möst
1069:Franz Welser-Möst
1042:Edward Greenfield
863:William Steinberg
653:Eduard van Beinum
514:and the pianists
458:
312:Willem Mengelberg
269:Royal Albert Hall
247:Lord of the Rings
228:Vladimir Jurowski
122:
121:
16:(Redirected from
4340:
4280:
4279:
4264:Welk Music Group
4228:Nacional Records
4163:
4155:
4132:
4125:
4118:
4109:
4108:
3991:Aurora Orchestra
3926:
3919:
3912:
3903:
3902:
3806:
3799:
3792:
3783:
3782:
3750:
3749:
3734:
3703:
3684:
3673:The Record Guide
3660:
3639:
3627:
3616:
3597:
3578:
3559:
3540:
3521:
3509:
3498:
3486:
3475:
3456:
3439:
3422:
3394:
3387:
3382:
3376:
3364:
3358:
3352:
3346:
3345:
3343:
3341:
3331:
3325:
3319:
3313:
3307:
3301:
3295:
3289:
3286:
3280:
3229:
3223:
3220:
3214:
3211:
3205:
3202:
3196:
3193:
3187:
3180:Stuart, Philip.
3178:
3167:
3164:
3155:
3152:
3146:
3143:
3137:
3134:
3128:
3125:
3119:
3118:
3116:
3114:
3103:
3097:
3096:
3094:
3092:
3081:
3075:
3074:
3072:
3070:
3055:
3049:
3048:
3046:
3044:
3039:on 10 April 2020
3029:
3023:
3022:
3020:
3018:
3003:
2997:
2996:
2994:
2992:
2977:
2971:
2970:
2968:
2966:
2951:
2945:
2944:
2942:
2940:
2926:
2918:
2912:
2911:
2898:
2892:
2891:
2871:
2865:
2864:
2860:The Buffalo News
2850:
2844:
2837:
2831:
2818:
2812:
2805:
2799:
2796:
2790:
2787:
2781:
2778:
2769:
2762:
2756:
2735:
2729:
2728:, 18 August 2005
2716:
2710:
2703:
2697:
2690:
2684:
2681:
2675:
2672:
2666:
2659:
2653:
2646:
2640:
2633:
2624:
2617:
2611:
2608:
2602:
2599:
2593:
2583:
2577:
2574:
2565:
2562:
2556:
2553:
2547:
2540:
2534:
2531:
2525:
2522:
2516:
2513:
2507:
2504:
2498:
2495:
2489:
2486:
2480:
2479:, 1 August 1960.
2473:
2467:
2464:
2458:
2455:
2449:
2446:
2431:
2428:
2422:
2421:
2408:
2402:
2401:
2388:
2382:
2370:Witts, Richard.
2368:
2362:
2359:
2353:
2350:
2344:
2341:
2335:
2332:
2326:
2323:
2314:
2308:
2302:
2299:
2290:
2287:
2281:
2275:
2269:
2266:
2260:
2257:
2251:
2248:
2242:
2239:
2233:
2217:
2211:
2208:
2202:
2201:(1947), pp. 9-30
2199:Music Since 1939
2195:
2189:
2186:
2180:
2177:
2171:
2168:
2162:
2159:
2153:
2150:
2144:
2137:
2131:
2128:
2122:
2103:
2097:
2094:
2088:
2085:
2076:
2073:
2067:
2066:Jefferson, p. 89
2064:
2058:
2051:
2045:
2038:
2032:
2017:
2011:
2004:The Sunday Times
2002:Newman, Ernest,
2000:
1994:
1991:
1985:
1982:
1976:
1973:
1967:
1964:
1958:
1955:
1949:
1946:
1940:
1937:
1931:
1928:
1922:
1915:
1904:
1901:
1895:
1892:
1886:
1883:
1877:
1874:
1868:
1865:
1859:
1853:
1836:
1830:
1829:
1814:
1808:
1807:
1796:Patmore, David.
1794:
1785:
1779:
1773:
1770:
1764:
1757:
1751:
1749:
1735:
1718:
1711:
1705:
1702:
1696:
1689:Maurizio Pollini
1639:and Eva Turner,
1625:Kirsten Flagstad
1605:
1599:
1596:
1590:
1587:
1581:
1578:
1572:
1568:
1104:Southbank Centre
1078:Richard Morrison
1005:Riccardo Chailly
958:Daniel Barenboim
761:Benjamin Britten
736:The Perfect Fool
641:Victor de Sabata
597:, taboo to Nazi
569:reviewer wrote:
472:The Sunday Times
456:
420:Geoffrey Gilbert
376:Samuel Courtauld
320:Arturo Toscanini
212:Sir Adrian Boult
197:Congress Theatre
118:
115:
113:
111:
72:
70:
49:
32:
31:
21:
4348:
4347:
4343:
4342:
4341:
4339:
4338:
4337:
4293:
4292:
4291:
4286:
4268:
4168:
4156:(founder / CEO)
4141:
4136:
4106:
4101:
4085:
4071:
4025:
3974:
3933:
3930:
3900:
3895:
3866:Klaus Tennstedt
3854:Bernard Haitink
3815:
3810:
3745:
3744:
3741:
3731:
3721:Greenwood Press
3700:
3649:Victor Gollancz
3636:
3613:
3594:
3575:
3556:
3537:
3518:
3495:
3472:
3419:
3403:
3398:
3397:
3385:
3383:
3379:
3374:Wayback Machine
3365:
3361:
3353:
3349:
3339:
3337:
3333:
3332:
3328:
3320:
3316:
3308:
3304:
3296:
3292:
3287:
3283:
3239:Wayback Machine
3232:"CDs and audio"
3230:
3226:
3221:
3217:
3212:
3208:
3203:
3199:
3194:
3190:
3179:
3170:
3165:
3158:
3153:
3149:
3144:
3140:
3135:
3131:
3126:
3122:
3112:
3110:
3105:
3104:
3100:
3090:
3088:
3083:
3082:
3078:
3068:
3066:
3056:
3052:
3042:
3040:
3031:
3030:
3026:
3016:
3014:
3013:on 28 July 2019
3005:
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3000:
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2974:
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2948:
2938:
2936:
2919:
2915:
2900:
2899:
2895:
2888:
2872:
2868:
2851:
2847:
2838:
2834:
2828:Wayback Machine
2819:
2815:
2806:
2802:
2797:
2793:
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2784:
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2759:
2736:
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2691:
2687:
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2678:
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2647:
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2600:
2596:
2584:
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2514:
2510:
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2461:
2456:
2452:
2447:
2434:
2429:
2425:
2419:
2409:
2405:
2399:
2389:
2385:
2379:Wayback Machine
2369:
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2333:
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2205:
2196:
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2151:
2147:
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2134:
2129:
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2100:
2095:
2091:
2086:
2079:
2074:
2070:
2065:
2061:
2052:
2048:
2039:
2035:
2018:
2014:
2001:
1997:
1992:
1988:
1983:
1979:
1974:
1970:
1965:
1961:
1956:
1952:
1947:
1943:
1938:
1934:
1929:
1925:
1916:
1907:
1902:
1898:
1893:
1889:
1884:
1880:
1875:
1871:
1866:
1862:
1854:; and "Music",
1851:
1837:
1833:
1827:
1815:
1811:
1805:
1795:
1788:
1780:
1776:
1771:
1767:
1758:
1754:
1747:
1736:
1732:
1727:
1722:
1721:
1712:
1708:
1703:
1699:
1655:; the cellists
1645:Beniamino Gigli
1637:Joan Sutherland
1606:
1602:
1597:
1593:
1588:
1584:
1579:
1575:
1569:
1565:
1560:
1540:
1405:
1399:with Jurowski.
1389:Eighth Symphony
1305:Eighth Symphony
1281:Ernest Ansermet
1279:, conducted by
1248:John Barbirolli
1207:
1166:Yuri Temirkanov
1123:
1018:
1009:Klaus Tennstedt
993:Erich Leinsdorf
986:Henry Wood Hall
973:Sir Georg Solti
925:Bernard Haitink
917:Bernard Haitink
875:
837:Alfredo Campoli
821:Walter Susskind
785:Communist party
741:Richard Strauss
723:and Schubert's
702:Michael Kennedy
665:
607:
559:Igor Stravinsky
520:Clifford Curzon
455:
448:
364:Malcolm Sargent
352:, launched the
261:
256:
244:(1962) and the
224:Klaus Tennstedt
220:Sir Georg Solti
216:Bernard Haitink
162:London Symphony
158:Malcolm Sargent
144:) is a British
108:
80:London, England
68:
66:
28:
23:
22:
15:
12:
11:
5:
4346:
4336:
4335:
4330:
4325:
4320:
4315:
4310:
4305:
4288:
4287:
4285:
4284:
4273:
4270:
4269:
4267:
4266:
4261:
4255:
4250:
4245:
4240:
4235:
4230:
4225:
4220:
4219:HHO Multimedia
4217:
4212:
4207:
4202:
4197:
4192:
4187:
4182:
4176:
4174:
4170:
4169:
4167:
4166:
4158:
4153:Johan Lagerlöf
4149:
4147:
4143:
4142:
4139:X5 Music Group
4135:
4134:
4127:
4120:
4112:
4103:
4102:
4100:
4099:
4094:
4088:
4086:
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4018:
4013:
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4003:
3998:
3993:
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3962:
3957:
3952:
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3939:
3935:
3934:
3929:
3928:
3921:
3914:
3906:
3897:
3896:
3894:
3893:
3890:Edward Gardner
3887:
3881:
3875:
3869:
3863:
3857:
3851:
3848:John Pritchard
3845:
3839:
3833:
3827:
3824:Thomas Beecham
3820:
3817:
3816:
3809:
3808:
3801:
3794:
3786:
3780:
3779:
3768:Jessica Duchen
3765:
3756:
3751:
3740:
3739:External links
3737:
3736:
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3634:
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3359:
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3215:
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3168:
3156:
3147:
3138:
3129:
3120:
3098:
3076:
3050:
3024:
2998:
2972:
2956:"LPO/Jurowski"
2946:
2913:
2893:
2886:
2866:
2845:
2832:
2813:
2800:
2791:
2782:
2770:
2757:
2730:
2718:Hewett, Ivan.
2711:
2698:
2685:
2676:
2667:
2654:
2641:
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2578:
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2403:
2383:
2363:
2354:
2345:
2336:
2327:
2315:
2311:The Gramophone
2303:
2291:
2282:
2270:
2261:
2252:
2243:
2234:
2220:Glock, William
2212:
2203:
2190:
2181:
2172:
2163:
2154:
2145:
2132:
2123:
2098:
2089:
2077:
2068:
2059:
2046:
2033:
2012:
1995:
1986:
1977:
1968:
1959:
1950:
1941:
1932:
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1752:
1729:
1728:
1726:
1723:
1720:
1719:
1706:
1697:
1681:Wilhelm Kempff
1677:Alfred Brendel
1673:David Oistrakh
1669:Fritz Kreisler
1665:Jascha Heifetz
1653:Richard Tauber
1629:Leontyne Price
1600:
1591:
1582:
1573:
1562:
1561:
1559:
1556:
1539:
1536:
1404:
1401:
1346:CosĂŹ fan tutte
1289:Clemens Krauss
1268:Jascha Heifetz
1264:Fritz Kreisler
1256:Artur Schnabel
1206:
1203:
1193:Edward Gardner
1151:Gilbert Levine
1122:
1119:
1095:Semyon Bychkov
1022:golden jubilee
1017:
1014:
903:Duke Ellington
887:John Pritchard
874:
871:
765:William Walton
739:ballet music,
694:The Gramophone
689:First Symphony
685:Blanche Thebom
664:
661:
626:Richard Tauber
606:
603:
524:Yehudi Menuhin
488:Neville Cardus
447:
444:
440:Bernard Walton
428:Gerald Jackson
416:Gwydion Brooke
412:David McCallum
338:Sir John Reith
281:Sir Henry Wood
260:
257:
255:
252:
120:
119:
106:
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99:Edward Gardner
96:
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4208:
4206:
4205:Decca Records
4203:
4201:
4200:Cooking Vinyl
4198:
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3311:
3310:"Bestsellers"
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2986:Playbill Arts
2983:
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2587:
2586:Mann, William
2582:
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2200:
2194:
2185:
2176:
2170:Lucas, p. 239
2167:
2158:
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2112:
2108:
2102:
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2084:
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2072:
2063:
2056:
2050:
2043:
2037:
2030:
2026:
2022:
2016:
2009:
2005:
1999:
1990:
1981:
1972:
1963:
1954:
1945:
1936:
1927:
1920:
1914:
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1910:
1900:
1891:
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1857:
1849:
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1535:
1533:
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1525:
1521:
1517:
1513:
1509:
1505:
1501:
1497:
1496:Broadway Gold
1493:
1492:
1487:
1482:
1480:
1479:
1474:
1470:
1469:
1465:derived from
1464:
1460:
1459:
1454:
1453:
1448:
1447:
1442:
1441:
1436:
1435:
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1371:
1366:
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1336:
1335:
1329:
1327:
1322:
1318:
1314:
1308:
1306:
1302:
1298:
1297:Erich Kleiber
1294:
1290:
1286:
1285:Charles Munch
1282:
1278:
1277:
1271:
1269:
1265:
1261:
1260:Alfred Cortot
1257:
1253:
1249:
1245:
1241:
1237:
1233:
1229:
1225:
1224:Kingsway Hall
1221:
1220:
1215:
1214:
1202:
1199:
1194:
1189:
1187:
1183:
1179:
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1131:
1127:
1118:
1116:
1111:
1107:
1105:
1100:
1096:
1092:
1088:
1087:Riccardo Muti
1083:
1079:
1070:
1066:
1062:
1060:
1055:
1050:
1045:
1043:
1039:
1038:
1033:
1032:
1027:
1023:
1016:1980s and 90s
1013:
1010:
1006:
1002:
998:
994:
989:
987:
983:
974:
970:
966:
962:
959:
955:
951:
947:
943:
939:
935:
931:
926:
918:
914:
910:
908:
904:
900:
895:
890:
888:
879:
873:1960s and 70s
870:
868:
864:
859:
857:
853:
848:
846:
842:
841:Moura Lympany
838:
834:
830:
826:
822:
818:
814:
810:
809:Jean Martinon
806:
801:
799:
795:
794:Richard Witts
790:
786:
781:
780:Decca Records
772:
768:
766:
762:
758:
754:
753:
748:
747:
742:
738:
737:
732:
728:
727:
726:Great C major
722:
719:, Schumann's
718:
714:
712:
707:
703:
698:
696:
695:
690:
686:
683:
682:mezzo-soprano
679:
678:
673:
672:
660:
658:
654:
650:
646:
642:
637:
635:
629:
627:
619:
615:
611:
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570:
568:
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560:
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540:
537:
533:
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525:
521:
517:
516:Harriet Cohen
513:
507:
505:
504:
499:
495:
494:
489:
485:
482:
477:
476:Ernest Newman
474:
473:
468:
467:
452:
443:
441:
437:
433:
432:Reginald Kell
429:
425:
424:LĂ©on Goossens
421:
417:
413:
409:
404:
399:
397:
396:Covent Garden
393:
389:
385:
381:
377:
372:
369:
365:
362:
357:
355:
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343:
339:
331:
327:
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309:
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251:
249:
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229:
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217:
213:
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205:Brighton Dome
202:
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147:
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3954:
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3812:
3776:The Guardian
3775:
3708:
3689:
3672:
3644:
3623:
3602:
3583:
3564:
3545:
3526:
3505:
3483:Adrian Boult
3482:
3461:
3444:
3427:
3408:
3380:
3362:
3350:
3338:. Retrieved
3329:
3317:
3305:
3293:
3284:
3268:
3264:
3259:
3254:
3250:
3246:
3242:
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3218:
3209:
3200:
3191:
3182:
3150:
3141:
3132:
3123:
3113:18 September
3111:. Retrieved
3101:
3089:. Retrieved
3079:
3067:. Retrieved
3064:The Guardian
3063:
3053:
3041:. Retrieved
3037:the original
3027:
3015:. Retrieved
3011:the original
3001:
2989:. Retrieved
2985:
2975:
2963:. Retrieved
2960:The Guardian
2959:
2949:
2937:. Retrieved
2928:
2916:
2905:
2896:
2876:
2869:
2858:
2848:
2840:
2835:
2816:
2809:The Guardian
2808:
2803:
2794:
2785:
2765:
2760:
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2742:
2733:
2723:
2714:
2706:
2701:
2693:
2688:
2679:
2670:
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2657:
2650:The Guardian
2649:
2644:
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2621:The Guardian
2620:
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2606:
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2589:
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2560:
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2520:
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2484:
2477:The Guardian
2476:
2471:
2462:
2453:
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2339:
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2285:
2273:
2264:
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2246:
2237:
2229:
2225:The Observer
2223:
2215:
2206:
2198:
2193:
2184:
2175:
2166:
2157:
2148:
2140:
2135:
2126:
2118:
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2110:
2106:
2101:
2092:
2071:
2062:
2054:
2049:
2041:
2036:
2028:
2024:
2020:
2015:
2007:
2003:
1998:
1989:
1980:
1971:
1962:
1953:
1944:
1935:
1926:
1918:
1899:
1890:
1881:
1872:
1863:
1856:The Observer
1855:
1847:
1839:
1834:
1821:
1812:
1802:ARSC Journal
1801:
1781:
1777:
1768:
1760:
1755:
1741:
1738:"The B.B.C."
1733:
1709:
1700:
1657:Pablo Casals
1603:
1594:
1585:
1576:
1566:
1541:
1515:
1511:
1507:
1503:
1499:
1495:
1489:
1485:
1483:
1476:
1466:
1456:
1455:(1993), the
1450:
1446:Dead Ringers
1444:
1438:
1432:
1426:
1420:
1414:
1408:
1406:
1393:Rachmaninoff
1385:
1378:
1368:
1362:
1356:
1350:
1344:
1338:
1332:
1330:
1309:
1301:stereophonic
1274:
1272:
1231:
1219:The Creation
1217:
1211:
1208:
1190:
1163:
1148:
1135:
1121:21st century
1115:The Guardian
1114:
1112:
1108:
1091:Simon Rattle
1081:
1074:
1054:Arts Council
1048:
1046:
1037:The Guardian
1035:
1029:
1019:
1001:Eugen Jochum
990:
978:
963:
949:
938:Shostakovich
922:
907:Tony Bennett
891:
884:
860:
849:
833:George Hurst
825:Soviet Union
805:Paul Kletzki
802:
777:
750:
744:
734:
725:
710:
699:
692:
675:
669:
666:
638:
630:
623:
618:Queen's Hall
608:
599:anti-Semites
588:
577:
572:
566:
563:
551:George Szell
547:Bruno Walter
543:
508:
501:
491:
480:
470:
464:
461:
436:Anthony Pini
400:
380:Robert Mayer
373:
358:
350:Adrian Boult
335:
300:
288:
285:Queen's Hall
262:
245:
239:
209:
182:
174:Philharmonia
170:
141:
137:
135:
85:Concert hall
29:
4233:Sun Records
4190:BIS Records
4030:Specialised
3860:Georg Solti
3340:17 November
3091:22 February
2222:, "Music",
2053:"Concert",
1617:Janet Baker
1548:sponsorship
1514:(1994) and
1463:three films
1397:Tchaikovsky
1373:(1979) and
856:Josef Krips
817:Georg Solti
787:; when the
715:, Brahms's
674:, Mahler's
595:Mendelssohn
555:Fritz Busch
446:Early years
403:Harold Holt
4297:Categories
4146:Key people
3878:Kurt Masur
3730:0313291365
3699:0859362124
3635:0800850807
3612:1857763815
3593:011981062X
3574:057121584X
3555:0091473004
3517:0563176172
3494:0333487524
3471:0754607216
3445:Music 1951
3418:0091801311
1725:References
1643:including
1524:Paralympic
1468:The Hobbit
1228:Abbey Road
1205:Recordings
1139:Kurt Masur
1031:Brigg Fair
899:Danny Kaye
733:, Holst's
708:, Haydn's
512:Eva Turner
498:W J Turner
484:H C Colles
408:Paul Beard
259:Background
201:Eastbourne
54:Short name
4243:Luaka Bop
4215:EMI Music
4185:ARC Music
3681:474839729
3657:500565141
3436:636583612
3271:(1975));
2929:Telegraph
2821:"History"
2766:The Times
2707:The Times
2694:The Times
2663:The Times
2637:The Times
2590:The Times
2544:The Times
2230:The Times
2119:The Times
2115:The Times
2111:The Times
2107:The Times
2055:The Times
2042:The Times
2021:The Times
1919:The Times
1840:The Times
1838:"Music",
1544:condemned
1334:L'Ormindo
1276:Petrushka
1191:In 2003,
1082:The Times
1049:The Times
982:Southwark
950:The Times
680:with the
490:wrote in
481:The Times
368:Courtauld
361:conductor
302:The Times
148:based in
146:orchestra
40:Orchestra
4282:Category
4260:(parent)
4173:Partners
3938:Symphony
3763:AllMusic
3713:Westport
3671:(1955).
3453:26147349
3370:Archived
3249:(2002),
3243:Theodora
3235:Archived
2933:Archived
2907:TV Guide
2824:Archived
2375:Archived
1615:such as
1609:sopranos
1510:(1993),
1506:(1984),
1502:(1984),
1498:(1978),
1494:(1976),
1488:(1959),
1449:(1988),
1443:(1986),
1437:(1982),
1425:(1972),
1383:(2008).
1349:(1974),
1340:Theodora
930:Bruckner
789:Cold War
752:Firebird
746:Don Juan
713:, No 104
671:Falstaff
591:Symphony
539:concerto
388:Columbia
314:and the
295:, under
203:and the
176:and the
77:Location
3979:Chamber
3401:Sources
3391:YouTube
3069:6 April
3043:6 April
3017:6 April
2991:6 April
2965:6 April
2939:6 April
2910:. 2002.
1532:WPVI-TV
1520:Olympic
1473:Yoshiki
1440:The Fly
1321:Chandos
1213:Messiah
1170:Puccini
954:Philips
706:Seventh
636:(RPO).
589:Italian
254:History
105:Website
67: (
62:Founded
4248:ONErpm
4082:Ballet
3892:(2021)
3886:(2007)
3880:(2000)
3874:(1990)
3868:(1983)
3862:(1979)
3856:(1967)
3850:(1962)
3844:(1958)
3838:(1950)
3832:(1947)
3826:(1932)
3727:
3696:
3679:
3655:
3632:
3609:
3590:
3571:
3552:
3533:
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3491:
3468:
3451:
3434:
3415:
3269:Carmen
3247:Carmen
2884:
2008:quoted
1782:Quoted
1761:quoted
1641:tenors
1613:mezzos
1375:Eötvös
1352:Carmen
1326:Lyrita
1250:, and
1240:78-rpm
1236:Handel
1178:Wagner
1157:under
1026:Delius
934:Mahler
721:Fourth
711:London
584:Hitler
532:Mozart
318:under
289:ad hoc
275:, the
193:Thames
150:London
4164:(CEO)
4079:Opera
1558:Notes
1530:" by
1491:Evita
1174:Verdi
942:Tenth
717:First
663:1950s
536:Elgar
500:, of
236:Decca
3725:ISBN
3694:ISBN
3677:OCLC
3653:OCLC
3630:ISBN
3607:ISBN
3588:ISBN
3569:ISBN
3550:ISBN
3531:ISBN
3512:ISBN
3489:ISBN
3466:ISBN
3449:OCLC
3432:OCLC
3413:ISBN
3342:2021
3267:and
3253:and
3115:2024
3093:2024
3071:2020
3045:2020
3019:2020
2993:2020
2967:2020
2941:2020
2882:ISBN
1691:and
1671:and
1659:and
1651:and
1611:and
1522:and
1434:Tron
1395:and
1266:and
1258:and
1216:and
1184:and
1097:and
1089:and
932:and
905:and
854:and
839:and
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763:and
643:and
580:Nazi
557:and
530:and
528:Bach
518:and
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410:and
382:and
306:the
226:and
164:and
156:and
136:The
128:The
114:.org
112:.lpo
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3761:at
3389:on
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1552:JTI
1377:'s
1317:RCA
1313:CBS
1222:at
1080:of
1028:'s
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283:'s
277:BBC
232:EMI
142:LPO
116:.uk
110:www
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3770:,
3723:.
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3717:CT
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140:(
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20:)
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